William Merritt Chase’s painting, titled “The Wounded Poacher”, shows an elderly man who is a veteran. The painting was exhibited in the year 1878 on a regular canvas that is placed in a vertical transition. It is approximately 29.75 x 24.625 inches in length and the painting was created with the use of oil paint. The art piece’s current position is being displayed in the Virginia Museum of Fine Arts. It is put in a wooden, rectangular frame and is placed in the exhibit, McGlothin Collection of American Art.
The man in the painting is interpreted as having a feeling of weariness and fatigue. This is evident seeing by how the painting is constructed with dark, muddy colors and the man is given a somber and dismal expression. The sagging eyes,
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To start off, the current definition of poacher concludes that it is someone that trespasses or steals, or someone who kills or hunts wild animals illegally. However, seeing as this was created in the 19th century, hunting might have been more lenient and necessary then it is in current times. The title of this painting is occasionally written as having “Veteran” at the end of it in parentheses, which indicates the man depicted in this particular art piece has experience in some sort of field, which is most likely hunting. William Merritt Chase drew him with a white bandage wrapped around his head, as to further accentuate the evidence of him being wounded, and in the lower left corner the man is cradling a smoker’s pipe and a clay barrel is pointed outward. If we are basing more off of the barrel of the gun and the definition given, then we can assume he’s a hunter. Given his weary features and somber expression, he is probably struggling to get food, which results to him hunting for food. While the cause of his injuries are unknown, it can be assumed it’s from him poaching. The complexity and clues given truly shows just how much thought and effort William Merritt Chase put into this particular piece of
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
...elationship between the people in the composition and their feelings in each other’s company. The viewer is forced to think critically about the people in the painting and their feelings and body language.
O. Henry’s "Art and the Bronco" tells the story of Lonny Briscoe, a cowboy who is also an aspiring artist. It follows his quest to sell his first painting to the state legislature; to have it hung in the capital building. Lonny sees the sale of the painting as validation of his talent and worth as a painter. What he ends up learning is that the actual value of the painting turns out to be secondary to what other feel they can gain from it.
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
The man’s eyes are closed and his mouth is slightly open. The colours of the painting shades of blue, and there is a flatness to the painting. The only break in color is the brown guitar. Like other paintings at this time, the mas is assumed to be poor. There is an overall sense of depression and tragedy.
In this work, the colors and shapes come together to form the depiction of a woman in a chair gazing out at the landscape beyond a window. This subject matter relates to Picasso’s infamous relationship with women and may serve as a depiction of one of the many women he was linked with. The painting depicts the woman with a dual omniscient and introspective vision. Picasso develops this dichotomy through the depiction of a wayward eye gazing out the window and a larger ubiquitous eye glaring directly at the viewers. In constructing such a contrast, the painter is able to convey the personality...
This set off the movement of idealization and using the body as a performance of masculinity. Another painting by Eakins, Frank Hamilton Cushing (1895), emblematized that the West is a place for reinvention. Frank Hamilton Cushing was one of the first American anthropologist to observe and chronicle the lives of Native Americans.
...retation of the painting some aspects were surprising to how dark and heavy hearted she could speak, she took an interesting perspective. However in her interpretative poem she found a perspective of the painting that connected with her. As she used every stroke of darkness painted into the canvas an opportunity to have it symbolize this darkness and evil that resides in the world. It told her story and her experience of a starry night. Similarly Van Gogh had used every stroke of light painted into the canvas to be a symbol of beauty, and a symbol of his fascination of the night sky and its illuminating lights. He uses swift movements of his brush to depict a sky that seem to be able to sweep the mind away from the frustrations of this world in to the dreamy night light. A single painting worth a million words tells many stories through every perspective.
many other emotions that the artist is trying to display in his painting. Although we can try and
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.
Another example of how art represented in the Native North America exhibit is a painting by David Paul Bradley, a Chippewa artist, titled Greasy Grass Premonition #2. It depicts a scene from the Battle of Little Bighorn, but the tombstone explains that Native Americans know it as the Battle of Greasy Grass Creek. By providing that information for the audience, the MFA is allowing them a glimpse into the minds of Native Americans and their culture instead of presenting it as another example of Western bias.
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
The color variation of this piece embraces a bit of pop art, which indicates the huge influence that Andy Warhol had on Basquiat at the time. A Lot of the clippings are bold but their color schemes are different such as the President Kennedy picture contrast with the superhero clippings contrast within dark red and light red with Kennedy’s picture. The mood of the painting expresses sadness and despair, but eagerness for hope.
One of the visual elements of this painting is the color he really uses the color to get people's attention because he uses watercolors to blend them together to make such a wonderful painting. He blends many different colors together to make new ones there is not a spot in this painting that there isn’t color. The second visual element is the people in the painting they are naked and dancing around like nobody's looking. The people in the painting are relaxing and enjoying one another and various ways. Some are even having sexual contact in the painting it’s expressing themselves from one to
"Right from the beginning, I always strived to capture everything I saw as completely as possible", a quotation from Norman Rockwell (1894-1978), one of the most popular and prolific US painter in the 19th century. This painting is named “The Runaway” done in 1958 that first appeared on The Saturday Evening Post, September 20, 1958 (cover). It’s a painting on oil on canvas and the dimensions are 91cm x 85 cm and it is now conserved in the “The Norman Rockwell Museum of Stockbridge” (Massachusetts). This painting depicts a realistic scene where we see a little boy sitting with a police man sitting beside him and their gaze is directed towards each other. The cook is watching his elbows on the counter. So we can conclude that this painting belongs to the realistic movement.